After a stuntman's fall, Foxwoods Theatre officials seem to have restricted some seating.Lucas Jackson/Reuters

The management of the Foxwoods Theatre, home to the beleaguered “Spider- Man: Turn Off the Dark,” has admitted that at least some sections of the orchestra are unsafe.

And to whom did management admit this?

Yours truly!

I got a ticket from an online broker for last Thursday’s performance, the first since Christopher Tierney plunged into the orchestra pit. As I was making my way down the aisle, a security guard approached and said, “Sir, may I see your ticket?”

I was wary, but showed it to him anyway.

“You can’t sit here, sir,” he said.

Suspecting that I was about to be thrown out of the theater on my ear (can’t imagine why!), I stood my ground. “That seat is empty, and it’s mine,” I said as I scrambled over several sets of knees.

A few minutes later, the guard returned, this time with a house manager.

“I’m going to have to move you, sir,” the manager said.

When I asked why, he said — and I quote — “For safety issues.”

It really doesn’t get any better than this, I thought. I didn’t budge. The house manager reiterated: “I have another seat for you, sir, but I must move you for safety reasons.” (Italics mine.)

I took out my notebook, identified myself as a reporter and asked why my seat in row D — D for death, I guess — wasn’t safe. The color drained from the manager’s face and, after conferring with the security guard, he said: “Sir, this seat has been sold twice. I have another seat for you, and I will give you a full refund.”

Things were getting fishier by the minute, but I wasn’t going to move.

“Sir, we cannot start the show until you move,” the manager said. “If you do not, I will have to call the police.”

Not wanting to go to Broadway jail, I reluctantly relinquished my seat and followed the manager up the aisle. I passed Patrick Healy, of the New York Times, along the way. He sent an e-mail: “Consider me at your back.”

As the manager escorted me to the balcony, I said, “Look, are you banishing me to the balcony because I’m Michael Riedel of the New York Post?”

“I did not know who you were, sir, until you told me,” he said.

My ego deflated, I plopped down into my new seat — a lousy one, up in the rafters, against the wall. I fired a few more questions at the manager, but he bolted. I don’t know if he was telling the truth about the seat being sold twice — the view from my new seat was so bad, I couldn’t see my old seat or half of the flying stunts.

But apparently D116, my original seat, was the only “dangerous” one since nobody else in the aisle was given the heave-ho.

I have yet to get to the bottom of this mystery. The press agent for “Spider-Man” says the producers weren’t aware of it, though when they heard about it, they laughed.

I couldn’t find the house manager after the show. And I’m still waiting for my promised refund.

But I’d be wary about buying tickets to “Spider-Man.” You might get bounced up to the balcony because of safety concerns or ticket shenanigans.

Injured or cheated.

Take your pick.

JEREMY Gerard of Bloomberg.com reviewed “Spider-Man: Turn Off the Dark” over the weekend, and I hear other critics are headed to the Foxwoods as well.

And why should they wait? This show’s been reviewed all over the Internet by just about everybody who’s seen it.

Scattershot reviews may be the best thing the producers can hope for — far better than being buried under an avalanche of bad notices Feb. 8.

Come to think of it, why have an official opening at all?

Given the show’s technical complexity, Julie Taymor, Bono and The Edge can’t possibly make major changes by the Feb. 7 opening night.

The producers should just say “Spider-Man” is open for business. Taymor can fiddle with it to her heart’s content, and the critics can swing by from time to time to review her progress.

And if the box office starts to sag, just clip another actor and the media will do the rest.